The Squidder #2 (IDW): Squids are in the air, and I’d definitely like to draw another breath of ’em as drawn by Ben Templesmith. The story is familiar, sure, but it’s delivered well enough.

Alex + Ada #8 (Image): The series has been a solid read with clean images and fluid artistic transitions that speak as loudly as the words. It’s an against the odds love story with a dark cloud hanging over it. Waiting on the storm and worrying about Alex and Ada all along.

Alex + Ada #7

Clone #19 (Image): Continues to be one of the most kinetic comics on the shelf. Yeah, this book cooks! #18 offered a couple of Chubby twists that promise a checkered future for all involved. (Sorry about that.)

Lazarus #10 (Image): Re: #15: Circumstances conspire and both Michael and Casey end up in the employ of the Carlyles. Was there ever any other end? Nah. But Innie Award nominee (Best Writer) Greg Rucka and Michael Lark get there so well. Yet another exercise in excellent storytelling. Our #7 book of 2013 is well on its way to claiming a spot in the Top Ten of 2014.

Lazarus #10

Iron Fist: The Living Weapon #5 (Marvel): Re: #5: Some of the best bedroom action I’ve seen in some time. Talk about getting laid…out. Yeah, Kaare Andrews pricks up the pace with some passionate paneling–and one of my favorite splash pages, like, ever! Never has a bottom lip been bitten so beautifully–in a comic book, anyway. Go Brenda! Love her line, “Show me some Kung-Fu.” Throw in an iron fist-full of father-son issues and you’ve got yourself one hell of a book. If you’re not reading this yet, you should punch yourself in the face.

Miracleman #9 (Marvel): Been stockpiling my Miracleman. Gonna hafta get on that soon–or it might take a miracle to catch up.

Moon Knight #6 (Marvel): Warren Ellis may have earned our Biggest Dis(appointment) of June, but it certainly wasn’t for Moon Knight. He and Declan Shalvey have been producing some excellent vignettes with the multifaceted Marc Spector. This, sadly, is their last go ’round before giving up creative control to the talented team of Brian Wood (The Massive) and Greg Smallwood (Dream Thief).

Moon Knight #6

Original Sin #5.3 (Marvel): Ack! I missed #5.2. Forgot I was buying an Original Sin book, you know, because of Loki. I mean, why else would I be buying an Original Sin book?

Rocket Raccoon #2 (Marvel): Ain’t gonna lie: #1 was fun. Will probably pass, though, despite what Skottie Young is bringing to the prickly procyonid–unless, of course, I don’t pass, which is far more likely. Ugh! I have no self control!

The Bunker #5 (Oni Press): I liked #4 a lot. Thought the dialogue and the emotions were very real. Overall, Fialkov and Infurnari are telling a terrific story with perfect timing.

The Extinction Parade: War #2 (Avatar): I’ve enjoyed The Extinction Parade saga a lot more than I thought I would. (It’s true: I originally started picking it up for my wife–who hasn’t touched it.) Yes, it’s been “bottomless slaughter,” but it hasn’t been mindless slaughter. Max Brooks is offering an elevated apocalyptic experience, amplified by undeadly detailed artwork from Raulo Caceres.

God Is Dead: The Book of Acts Alpha (Avatar): Si Spurrier–the 2014 Innie Award Winner for Best Writer (Six-Gun Gorilla, Numbercruncher)–brings a little life to God Is Dead with the immortal Alan Moore. You read that right: Spurrier and Moore. Safe to say it’s a must buy.

God Is Dead: The Book of Acts Alpha

Harbinger: Omegas #1 (Valiant): Not too sure why this couldn’t have just been Harbinger #26. Is it rebootalism? Guess it really doesn’t matter. Dysart’s been telling a good story with these characters. They certainly deserve to live on–whatever the title.

SIP (Strangers in Paradise) Kids #1 (Abstract Studio): Oh, why not? Yeah, Rachel Rising has lost a lot of its shine. But here’s Terry Moore having fun with the characters for whom he’s best known–by turning them into six-year-olds.

The Sixth Gun: Days of the Dead #1 (Oni Press): Anything The Sixth Gun is going to find its way into my bag.

Terminal Hero #1 (Dynamite): Peter Milligan had a nice run on Valiant’s Shadowman. I’ll try him out here, where he’s teamed up with Sex‘s Piotr Kowalski.

Über #16 (Avatar): Über‘s riding quite a high. Heck, I was close to dropping it around the time the Special came out. Since then, however, it’s been terrific. I’d go as far to say it’s Gillen’s best current work–including the wildly hyped The Wicked & The Divine.

As you know, our sign off is “Turning pages.” As of today, for the foreseeable future, I’ll also be “turning Paige’s” whatever it is she wants me to turn or needs me to turn. That’s right: my second daughter was born this afternoon–and still I’m making sure to get this list out on time! So here it is: What’s I&N Store: The Hospital Edition:

Clone #18 (Image): Clone is humming along, as solid as ever, with ethical dilemmas driving the plot–toward a collision between the clones and the coalition. Will Luke kill the father and son? Will Laura kidnap Luke’s son? Gosh, I hope so.

East of West #13 (Image): Re: #12: the entire issue is a meeting amongst the nations. Just a meeting, you ask? Oh, no, not just a meeting: it’s the best damned meeting, like, ever! Xiaolian Mao makes the case for war; and Hickman and Dragotta use some superior panel work to take us around a very tense table, giving all in attendance the opportunity to explode with rage–or with something else, you know, like, in the case of Mr. Graves, a bomb. East of West has been very good of late, with this issue standing as one of the strongest of the series thus far.

Lazarus #9 (Image): #8 was one of our top books of April. Check out why here.

Lazarus #9

Satellite Sam #9 (Image): Did you get your Tijuana Bible straight away? Or did you have to ask for the insert? Did you kinda cringe after opening it and then shove it inside Sam and place it all together on your finished pile? Dirty distraction aside, #8 was very good. Almost earned Top Five honors for May. Sure, Fraction’s earning raves for the wildly overrated Sex Criminals, which I’ve dumped as of #6 after having realized that I could have this conversation with my friends for free; but his best work is right here.

Sheltered #10 (Image): A fist-pumping “Yes!” moment was enough to sell me on another issue. Yeah, I’m talking about Curt’s gettin’ his comeuppance and about taking Sheltered one issue at a time.

Sidekick #7 (Image): I ended up liking the first arc a lot. Definitely my favorite of the Joe’s Comics offerings. Clearly my favorite, considering the fact that it’s the only one I’ve stuck with. Oh, and I haven’t been turned off by Straczynski’s borrowing from himself (see the first arc of The Twilight Zone); after the initial surprise, it was just something worth remarking.

Southern Bastards #3 (Image): We loved #1 and celebrated it as a Top 5 book of April. #2, while a decent single issue, suffered in comparison to such a strong opening statement. Here’s another strong statement: I’m hoping that Aaron and Latour rebound here; otherwise, I may consider pulling the Bastards from my pull list.

Iron Fist: The Living Weapon #4 (Marvel): #3 was a particularly strong issue. Hasn’t taken long for writer/artist Kaare Andrews to assume complete control over Danny Rand/Iron Fist. He’s balanced the past and present like yin and yang, and, artistically, has injected just the right amount of fantasy into this kick-ass Kung-fu tragedy.

Iron Fist: The Living Weapon #4

Magneto #6 (Marvel): Bunn’s Magneto–and his approach to piecing the vengeful mutant’s story together–has been attractive on a very singular level. Who needs layers, right? Not Bunn; not here. And his decision to keep it simple–employing steely page turns to great effect along the way–has been the key to his making Magneto a must read. #5, however, crashed into a cliche. Hope things return to normal here.

Miracleman #8 (Marvel): Still sitting on 5-7. Derek’s been raving about them. I’ll get around to ’em eventually.

Moon Knight #5 (Marvel): Thanks to Warren Ellis’s vision, Moon Knight‘s been weird and fun, smart and exciting. It’s also been a showcase for Declan Shalvey, as Ellis has allowed him to do some top-notch visual storytelling. #4 was particularly weird, and in its weirdness offered up some terrific transitions in the mindscape and ended emphatically on an abrupt note, one that reminds of Terry Moore’s sudden endings on Rachel Rising. Moon Knight is so much better than anything Dark Knight right now. I hope that the coming change in creative team doesn’t change that.

Rocket Raccoon #1 (Marvel): I’m gonna give it a shot because Derek said he’s giving it a shot on the strength of Skottie Young.

Rocket Raccoon #1

Caliban #4 (Avatar): I’ve enjoyed it enough for what it is: a Sci-Fi horror story with some grisly moments–see the end of #3–a la Avatar. Ennis’s writing keeps the story moving, even if it doesn’t necessarily help one differentiate among the characters; in that, his ensemble cast, so far, anyway, lacks star power. Not typical of Ennis.

Extinction Parade: War #1 (Avatar): It’s been a while since the first arc ended. Might have to freshen up before going to war.

Quantum and Woody #12 (Valiant): #10 earned a spot in our Top 5 for May because it came together on so many levels to create a terrific character study of the wild and wonderful Woody. #11 was a strong follow up with some real hot dogging by James Asmus, who has established himself as one of the best funny businessmen in comics. Hard to believe this book–at least this iteration–is coming to a close. Reason to be excited: the team-up with Archer and Armstrong. Van Lente and Asmus together on the same book? Readers may literally die from laughing so hard.

Quantum and Woody #12

The Twilight Zone #6 (Dynamite): #5 drew us into another part of the world Straczynski created during the first arc. A much less interesting part of the world. Look out for the heavy hand!

Uber #15 (Avatar): I always look forward to reading Gillen’s Uber because it’s never a difficult read and because something remarkable always happens to force the story forward. What more can one ask for? Also of note: it’s very different stylistically from The Wicked & The Divine. That one read like a Hickman book. I know his latest offering is only one issue in, but as of now, I prefer what he’s doing with Uber.

This’ll be my inaugural haul from the new and improved Android’s Amazing Comics. Looks like it’ll be a grand opening, indeed!

The Wake #9 (DC/Vertigo): Scott Snyder’s overhyped submersible vehicle draws–drowns?–closer to its long awaited end. By long awaited, I mean this thing could’ve been a sixer. Am I wrong? Of course I’m not wrong.

Teenage Mutant Ninja Turtles #34 (IDW): Any hype this one’s been getting has been well earned. The Turtles are serious business, boys and girls: Waltz and Eastman have managed the considerable cast remarkably well, all along allowing the child at the heart of the book to play innocently while the adults are getting work done–no easy task; and, speaking of getting work done, artist Mateus Santolouco lifts the lot to another level with his signature style–one that has quickly become the face of the titular freaky foursome.

Clone #17 (Image): Issue after issue David Schulner and co. unveil another perfectly engineered model of their fast-paced formula, taking hairpin page turns toward high-octane twists! #16, an anxious affair, made more so by Juan Jose Ryp’s insanely detailed artwork and Andy Troy’s committed colors, delivers a real shot to the gut; and we’re left bleeding and pleading, “More, please.”

Iron Fist: The Living Weapon #3 (Marvel): Kaare Andrews definitely deserves an iron fist bump or two for this randy reboot of K’Un Lun’s favorite son. His images and words come together like yin and yang, balancing Danny’s heartbreaking backstory with the apocalyptic present. It’s Kung Fu Theater in a comic!

Loki: Agent of Asgard #5 (Marvel): Loving Loki, Midgard’s most magical metrosexual! The star of the show, though, is Al Ewing’s wit, which is sharper even than Sigurd’s Gram. That’s right: I’m all about Asgard–and it only took four issues to bring me around!

Magneto #5 (Marvel): Magneto the Merciless. Me likey. Cullen Bunn’s already shown a knack for delivering magnetic moments, making a raging Magneto easy to root for–especially as he works in vane to cleanse a faux farm of Purifiers. Did you notice: the death by windmill was literally–and cleverly–foreshadowed on the side of the barn over the course of three scene-shifting panels!

Miles Morales: Ultimate Spider-Man #2 (Marvel): #1 brought us back to what made Ultimate Spider-Man work: Bendis’s surrendering super in favor of human. There’s magic in Miles, after all. And, damn, how about that last page? One of those rare times when petering out is a good thing.

Miles Morales: Ultimate Spider-Man #2

Miracleman #7 (Marvel): Running a bit behind. Still haven’t gotten around to #5. But what I’ve read so far has been miraculous.

Moon Knight #4 (Marvel): Loved #3. Just one reason: “You possess all kinds of armor and raiment for fighting the living: how can you not have garments for fighting the dead?” I mean, duh! Warren Ellis knows exactly how to exploit this medium: he wields his words efficiently and allows Declan Shalvey to once again spread his wings. Together, they deliver a powerful punch and, with that narrative fist, continue to fill the cavernous Batvoid in my life. Thanks, fellas!

Doc Savage #6 (Dynamite): Starting to lose a little steam for me as it chugs its way to the present. I bought the Annual but don’t really feel compelled to read it, you know, with the different creative team and all. Just doesn’t inspire. Helluva a price tag on that sucker, too. We’re back to business–and back to Y2K–with this one.

Quantum and Woody #11 (Valiant): Crazy fun! I cannot wait for the showdown with the E.R.A. I’m telling you: if you like Rat Queens, you’ll definitely dig Q&W. James Asmus has really found a groove–and his needle sharp wit is riding it at 78 rpm, delivering sweet, sweet music, man; and Kano, the Bono of comic book artists, has, with #10, delivered the most vocal visuals of the series to date.

Quantum and Woody #11

Rai #2 (Valiant): I didn’t love #1, but I’m going to give it–Matt Kindt, more so, if I’m being honest–another issue. Wasn’t going to, except for the fact that #1 read a lot like Star Wars: Rebel Heist #1, which I ended up enjoying more after I thought about it for a while. Here’s hoping that Rai #2 will give me something to think about. Clayton Crain’s painted art didn’t live up to expectations. Don’t get me wrong it’s impressive for what it is; but in terms of the storytelling, it’s stiff and lifeless. More hoping: that the images catch up to the words.

Veil #3 (Dark Horse): The ante has been upped–and so has my interest in the book. It ain’t Lazarus, folks, but it ain’t bad: Greg Rucka’s going full Fatale, and Toni Fejzula’s art is pretty striking.

Veil #3

Astro City #12 (DC/Vertigo): The follow-up to a terrific #11, which you’ll see highlighted in a celebratory post in the not-so-distant future.

Batman Eternal #5 (DC): Into my second month of Gotham-centered gobbledygook. #4 offered up plenty of reasons to jump off–including an awful conversation between Batman and Batgirl. I mean, who talks like that?

The Wake #8 (DC/Vertigo): Ah, a rare double dose of Scott Snyder. I was disappointed with #7: it didn’t quite sell what #6 so emphatically offered. By and by, I buy.

Clone #16 (Image): #15 is a bit lost on me, but that’s OK; Clone‘s been a fun ride.

Fatale #22 (Image): No surprise here: Fatale has been nominated for an Innie in the Best Ongoing Series category! #21 didn’t quite capture the same magic as #20–our #2 book of February–but is was still pretty darned good. Hey: Brubaker and Phillips are competing against themselves–the ridiculously high standard they’ve set for themselves over the life of this brilliant book. Hmm… Would that be a fatal strength?

Fatale #22

Nailbiter #1 (Image): I haven’t been taken by anything I’ve read from Joshua Williamson. But I’ll take this one home, thank you very much. It’s a #1 thing.

Satellite Sam #8 (Image): Hawkeye is very good. Sex Criminals is more overrated than x-rated. Satellite Sam, however, is proving to be Fraction’s flagship. Doesn’t hurt that Howard Chaykin’s black and white art is out of this world.

Cyclops #1 (Marvel): Greg Rucka–nominated for an Innie in the Best Writer category for his work on Lazarus–returns to the hot half of the Big Two and takes on one of my all-time favorite characters. Even though we’re going to be spinning ’round in space, I’m still pretty psyched.

Cyclops #1

Iron Fist: The Living Weapon #2 (Marvel): Writer/artist Kaare Andrews impressed with an engaging #1. Highlight: his building of Danny’s backstory. Let’s see what he does with Danny’s frontstory.

Loki: Agent of Asgard #4 (Marvel): Al Ewing’s having fun and so am I; so I’m still buying.

Magneto #3 (Marvel): I really liked what Cullen Bunn did in #2: he crafted a tight, emotionally affecting story from the past and cradled it expertly with a tense present.

Magneto #3

Miracleman #5 (Marvel): So, so good. What have we learned after four issues? Alan Moore’s the real Miracleman.

Moon Knight #3 (Marvel): Warren Ellis and Declan Shalvey delivered a kill-shot–one after another–with #2. If you–yeah, you–didn’t pick it up, do yourself a favor and grab it and #3 while you’re at it.

Caliban #2 (Avatar): The first one was good enough to give this one a go. Liked it more than I liked Pariah and the space side of Letter 44, if that tells you anything. I’m not too sure that tells me anything.

The Sixth Gun #40 (Oni Press): As solid–and consistent–an ongoing as you’re bound to find. That’s right: no peaks and valleys here: Bunn and Hurtt are brilliant from one issue to the next.

The Woods #1 (BOOM!): James Tynion IV goes original with some otherworldly horror. Talk about field trips!

Veil #1 (Dark Horse): Greg Rucka’s killing it with Lazarus and has Cyclops in his sights. On the strength of the former and in anticipation of the latter, I’m thinking that this one’s a no-brainer.

Trillium #7 (DC/Vertigo): Through six issues, Jeff Lemire has insisted that we turn the page on our own expectations. As excited as I am sad, knowing that–including this one–only two issues of Lemire’s head-spinning layouts are left!

Clone #15 (Image): Clonetopia? Yeah, probably not. David Schulner and Co. have made it clear: happy endings end rather quickly in Clone–often after a single page turn. And what terrific page turns they are: artist Juan Jose Ryp’s attention to detail is astounding–not unlike the great Geof Darrow, no?

Jupiter’s Legacy #4 (Image): If I’m remembering correctly, I thought #3 was all right–certainly enough for me to ignore my oath to pass over any Millar material no matter how shiny. We all know by now that Mark Millar’s not concerned with our experiences as readers of his fine material; he’s too busy generating new ideas like…

Starlight #1 (Image): Of course I’m going to give Mr. Millar another opportunity to frustrate the hell out of me.

Velvet #4 (Image): Brubaker and Epting are taking their time, doing their thing, which is near-perfect cinematic slow-burn espionage.

Velvet #4

Loki: Agent of Asgard #2 (Marvel): I’ve never been a fan of Thor’s corner of the Marvel Universe. Al Ewing, however, has convinced me to extend my visit to a tidy right angle.

Moon Knight #1 (Marvel): I was crushed after the most recent–and mostly crazy–run of Moon Knight–by Bendis and Maleev–came to a close. Now, Warren Ellis and Declan Shalvey are in charge of the lunatic in white. Can’t wait.

Moon Knight #1

Uncanny X-Men #18 (Marvel): Maybe–just maybe–#17 was a hint; maybe it was the nudge I need. See: at the end of the issue, Cyclops kicks David Bond off the team because the new mutant fails to live up to expectations. Maybe–just maybe–I should finally cast this book aside because it hasn’t lived up to my expectations. Then again, Marco Rudy’s art looks ridiculously good. So, another possibility: Fate has kept me around long enough for this!

Afterlife With Archie #4 (Archie): The series has been so good for so many reasons. In fact, #3 was our #5 book of January–and deservedly so: Roberto Aguirre Sacasa’s storytelling–a brilliant balance of Archie and Afterlife–is top-notch, and Francesco Francavilla’s art is a perfect fit.

Afterlife With Archie #4

Archer & Armstrong #18 (Valiant): #17 was a rare sideways step for Fred Van Lente. It certainly wasn’t what we were hoping for from one of our favorite books of 2013. Wouldn’t you know: I liked #0.2014 a lot; in fact, it turned out to be one of my favorite origin issues, like, ever.

The Twilight Zone #3 (Dynamite): Has been surprisingly good. Certainly Straczynski’s best work–of the current batch, anyway. The shine, however, was taken off a bit after I read Sidekick #5. Seems Straczynski’s borrowing from himself–and he sure as heck isn’t being subtle about it! Sure, I’ve seen creators who have borrowed from themselves, usually from past work, but this is just silly: Sidekick and Twilight Zone are concurrent titles, for goodness sake! OK. OK. Wait a sec. Is this the Twilight Zone? Oh, well. Still want to see how this plays out.

Dead Boy Detectives #2 (DC/Vertigo): #1 was a revelation. The narrative–comprised of three distinct voices–was constructed with a breezy brilliance that amplified the complexity of the characters and their conflict yet remained eminently readable. Equal parts engaging and enraging, this book looks like a real winner in the venerable Vertigo style.

Dead Boy Detectives #2

Teenage Mutant Ninja Turtles #30 (IDW): Yup, it’s true: I’m still on board. Seems I’ve been taken by the Turtles! As it turns, while Mateus Sanotolouco gave me every reason to jump on board and, with the end of his run, an easy out, Ross Campbell is insisting that I stick around. Perhaps the real credit should be given to Kevin Eastman and Tom Waltz for their consistency, for their ability to elevate expertly an eternal novelty.

Clone #14 (Image): #13 was a bit of a backslide, a trip onto the ol’ backside. Yeah, it didn’t kick my ass; but it all-sorts-of-other-thingsed Luke’s ass. Yowza. Too much? Well, in terms of expectations, David Schulner and the gang sure as hell wrecked ’em. Let’s hope they’re back on track this month: phallic stage, here we come!

Clone #14

East of West #9 (Image): Each issue is delivered in a decidedly deliberate manner, which is an unmistakable hallmark of Jonathan Hickman’s storytelling. In that, the series has been solid–every issue’s been good; but it still plays like a side project compared to the atomic wedgie Hickman’s been giving to the atomic age in the expertly crafted and explosively funny The Manhattan Projects.

Saga #18 (Image): God, I hate Saga! Lying.

Saga #18

Saviors #2 (Image): Not sure how “new” the story felt, but I’m going to give it another shot anyway. What’s the draw: J. Bone, of course.

Inhumanity #2 (Marvel): I’ll flip through it. The first one–eh, it was a bit of a slog. The end, however, while predictable in one respect, hinting at cracks in Fraction’s foundation, did have a killer twist, which restored my faith in the writer, who clearly has a Karnak for keeping us on on our toes.

Miracleman #2 (Marvel): #1 was my first exposure to the character. Loved hearing Alan Moore’s voice, that’s for sure. Didn’t care so much for bonus material, though. Despite the threat of even more bonus material, I’m up for #2.

Uber #9 (Avatar): Of late, has been overshadowed by Gillen’s Spartan effort on the thrilling Three. Still, Uber‘s been mostly fascinating even with the frequent flow pas.

Welcome to the 46th Annual I&N’sTop Ten Comics of the Year (aka “The Innies”)! Why it seems like just yesterday that a struggling little mag named “The Amazing Spider-Man” edged out “The Adventures of Jerry Lewis” for the top spot on our hallowed list, signaling the spectacular rise of one and the slow descent into obscurity of the other.

Each title below is testament to the fact that, even as conventional wisdom holds that print is dying, comics are in the midst of some kind of Renaissance. The persistent stereotype that this vibrant, global medium is followed by sad, middle-aged men who like to see men in tights beat each other up simply doesn’t hold water anymore, nor has it for quite some time. The fact is, the problem is no longer a lack of diversity in incredible material for any and all possible demographics; it’s that there’s too much of it to keep track of! No less than seven publishers are represented in our Top Ten, each producing catalogues of more great work than we could ever hope to encompass in our tiny alloted piece of the internet. (You’ll note we even had to expand our “Honorable Mentions” section to ten books apiece – and we could’ve used ten more!) Simply put: everyone should be reading comics.

As always, we here at I&N welcome debate – hell, that’s the whole point. Just be aware that results below have already been encrypted onto floppy discs and blasted into space for the benefit of our future alien overlords. (DM)

The List!

10. Archer & Armstrong (Valiant): When Valiant, earlier this year, began hyping up their new title Quantum and Woody as their foray into buddy-action slapstick comedy, I wanted to yell “Wait! They’ve already GOT one of those!” But Archer & Armstrong is much more than that. Fred Van Lente and Co. have taken the best of Lethal Weapon, The X-Files, ancient Sumerian mythology, Dan Brown-type conspiracy novels, Dr. Strangelove, and god knows what else, and concocted a world-spanning epic that despite its breakneck pace and impeccable comic timing, manages an intellectual underpinning that questions the very nature and origins of faith. Even at its most gleefully satirical, however, the sheer exuberance of the writing embraces an expansive view of humanity, in all its wonders and frailties. Fun in a bottle, folks. (DM)

Archer & Armstrong

9. Fury: My War Gone By (Marvel): Garth Ennis proves he’s one of the most incisive writers around (not just in comics) on the subject of war. His deconstruction of the Marvel soldier/spy icon (lately supercool due to Samuel Jackson’s sleek big screen portrayal) is the least of this title’s attributes (which is on our Top Ten for the second year running). Ennis’ story (rendered with appropriate, unblinking grit by Goran Parlov) also serves as an insider’s account through the anguished litany of armed conflict of the second half of the 20th century. Most devastatingly, it portrays the effects of war, not on the nameless many whose lives are needlessly cut short, but on the wretched perpetrators who survive. Merciless and shattering. (DM)

Fury: My War Gone By

8. Zero (Image): Ales Kot, the enigmatic engineer behind the challenging Change (Image), a mostly on-time bullet train of thought fueled by a combustible blend of poetry and pictures,has heroically hit the brakes on the overplayed and over-parodied secret agent genre, expertly taking it from 007 to Zero in no time flat. He’s applied the same amount of poetic pressure here, but to a more successful–and coherent–end storytelling-wise: the danger is palpable, the emotion undeniable–thanks, in part, to the rather complex collaborative effort that has called for four different artists on the first four issues of the series–a move that has transcended gimmick and, instead, has proven invaluable, if only because the first four artists have been Michael Walsh (Comeback), Tradd Moore (The Strange Talent of Luther Strode), Mateus Santolouco (Dial H, TMNT), and Morgan Jeske (Change). My experience thus far: #1 hooked me with its perfect timing and left me lying in the gutter; #2 knocked me upside-down; #3 disarmed me; and #4 made me love it–made me punch-drunk love it, damn it! What makes the book even more exciting? It defies expectations. I expect that it’ll continue defying expectations as we move into 2014. And, in that, I expect Zero to be just as good as it’s been–if not infinitely better because we’re getting the best of Kot, who’s clearly giving us everything he’s got. (SC)

Zero

7. Lazarus (Image): Greg Rucka’s vision of a near-future oligarchic dystopia gets under your skin because, in the tradition of Huxley and Orwell, it seems an all-too-plausible extrapolation of our current reality. The story is made even more unsettlingly concrete by Michael Lark’s stark, photorealistic visuals. Contrast the plight of the teeming masses with the power-hungry family dynamic of the ultra-privileged few, and you have a potent, volatile mix. A comic for our times. (DM)

Lazarus

6. Wild Blue Yonder (IDW): Sure, it’s only three issues in, but what a three-issue ride it’s been! We’ve celebrated this action-packed series from its radar-arousing takeoff, with each high-speed pass earning enviable I&N accolades along the way. (Check out the love here, here, and here.) Top Gunners Mike Raicht, Zach Howard, Nelson Daniel, and Austin Harrison have come together in classic diamond formation to deliver one superior salvo after another, each on its own–and as a whole–a blockbuster that would humble Hollywood’s own best of 2013. (SC)

Wild Blue Yonder

5. Rachel Rising (Abstract Studio): Terry Moore presents a truly American horror story: witches, serial killers, and a resurrected figure of biblical origins seeking vengeance for the sins of our nation’s past. Oh yeah, and the Devil. Moore draws you in with the quiet beauty of his artwork; his snow-covered renditions of the sleepy town of Manson enveloping you like a down blanket in front of a fireplace, before the sharp spasms of bloodletting shock you right back into his nightmare. However terrible the events depicted though, Moore seems to suggest they pale against the cruelties of history. Speaking of cruelties, let’s hope a purported television adaptation staves off recent talk of this book’s imminent demise. Because the real horror story would be a world without Rachel Rising. (DM)

Rachel Rising

4. Saga (Image): Saga is a lot of things: a superlative satire, a side-splitting sci-fi romp, a heart-wrenching romance, a critique of fiction, a controversy magnet; but most of all, it’s extraordinarily consistent; and it’s that consistency that fosters a critical expectation: to expect the unexpected. On a monthly basis, Brian K. Vaughan and Fiona Staples serve up sublime slices of a greater story–slices that showcase razor sharp dialogue, that pitch perfect pathos, that sell sure shocks; they wisely fool with the elements of fiction and, like confident alchemists, have come up with issue after issue of 22-page gold–and we’re all the richer for it. (SC)

Saga

3. Six-Gun Gorilla (BOOM!): In the biggest surprise of the year, Si Spurrier conducts a multi-layered masterclass in metaficiton and at the same time delivers a eulogy on the dying art of escapism. From the existential exposition of this weird, weird western to its necessarily hopeful final act, Spurrier’s imaginative muse–the Six-Gun Gorilla, himself–becomes Blue’s, and then naturally becomes ours as we consent to the writer’s every insistence; as we gladly lose ourselves in this genre-bending–and never-ending–battle between reality and fiction, good and evil, and fate and freewill, which is brought to life by rising star Jeff Stokely, whose artwork crucially complements the conflicts at the core of the story.At the same time a celebration of a culture’s vital literary legacy and a criticism of the current collective unconscious, Six-Gun Gorilla has earned its spot in the Western Canon of Comics–and our Top Ten–with a simple but oft-neglected gesture: by making and keeping a primal promise. (SC)

Six-Gun Gorilla

2. Mind MGMT (Dark Horse): Matt Kindt’s magical mystery tour de force Mind MGMT—our #3 book of 2012–continues to astound, especially as its crafty creator meticulously molds the medium to suit his carefully constructed conspiratorial agenda. As the story of the eponymous enigmatic entity has evolved, so too has Kindt’s strategy for telling it: his precise, patient prose; his layouts, enlivened by some otherworldly calculus; and his innovative brushstrokes of genius merge miraculously and challenge us to think and to feel, to be active participants in the world in which we’ve been immersed: to put beautifully painted pieces together in order to experience–along with the impressive cast of characters–confusion and loss, the conflation of time, and a higher power drawing us somewhere unprecedented in breadth and scope–drawing us in to the mind of the medium’s finest manager. (SC)

Mind MGMT

1. Mister X (Dark Horse): There are many approaches to creating great comics. One of them is largely collaborative, in which the creative duties are are separated and clearly defined (writer, artist, colorist, letterer, etc). Through an amalgam of traditional, action-based American comics and the more leisurely paced, lushly visual influence of manga, this approach has evolved over the last twenty years or so into what could be called a “cinematic” style; a treatment of the comic book form that seems based in the ethos of filmmaking (Lazarus, above, is an excellent example of this). Then there is another approach (let us call it the “auteur’s” approach) in which the cartoonist (let us rescue this title from the cultural dung-heap) assumes all of the above creative responsibilities to produce narratives that are singular and personal in a way that no other visual medium, not even movies, can replicate. Since they control all aspects of the work – not just writing and drawing, but page design, panel lay-out, font style and placement and all sorts of graphic elements; in short the whole package – they can, at their best, perfectly marry content and form in a manner that is unique to the comics medium. It is an approach with a history that extends at least back to Will Eisner and The Spirit. Perhaps because it takes such a concerted effort by a single individual, this type of formal, experimental approach is most often seen in the realm of the “graphic novel”. Rarely is it employed in our beloved, stapled floppies (though glimmers of hope have begun to appear on the comic racks: see Matt Kindt, above and below). And then there is Mister X. Created by Dean Motter in the early 1980’s, (when “graphic novels” barely existed as an idea) the title has long been a touchstone among independent-minded cartoonists (early contributors include the Hernandez Bros and Seth). In its latest iterations, Hard Candy and Eviction, Motter continues to seamlessly wed both approaches: there is the clear stylistic influence of German Expressionism and film noir for which the comic is known, but there are also the aforementioned design choices that reflect the themes of the narrative itself. The story involves the mysterious architect of a city in which the very buildings (in all their art deco glory) seem to respond to, and adversely influence, the psyches of its very inhabitants. This theme, played out in yarns that are at once hard-boiled, surreal and whimsical, acts as a fitting metaphor for the experience of the reader, as they interact with the “architecture” of Motter’s intricate design. Further, Motter includes delightful homages to the likes of Harold Gray (“Little Urchin Andy”), Winsor McCay (“Dream of the Robot Friend”) and the aforementioned Eisner (see cover below) which pay tribute to the comics history of which Mister X is a part, while, again, also making sense within the story itself. The overall effect is immersive and beguiling. Some comics tell great stories. Some comics celebrate their history. Some comics continue to push at the boundaries of the medium. And then there is Mister X. Book Of the Year. (DM)

With #17, Kindt reaches new heights, goes to greater lengths–particularly in page-busting panels of crisply-crafted and concurrent continuous narratives–to exploit the power of the medium. As promised by the clever cover–one awash in paranoia and paronomasia–the story moves at a breakneck pace: from a locked and loaded unhappy Home Maker to a veritable orgy of violent rivers running toward a simultaneous orgasm of double-page splashes–there goes the neighborhood, indeed!–to a crack shot Meru, who, with a twist of Lyme, is ready to take the reins and restore reason to the world one agent at a time. The whole damn thing’s a miracle, really. Hell, at this point, I wouldn’t be surprised if Kindt could turn his watercolors to wine; his work is that divine. (SC)

Mind MGMT #17

Publisher of the Year: Most comics-related outfits have finally caught onto Image Comics‘ trend-setting ways and already bestowed this honor upon them (no doubt, in no small part, due to our ahead-of-the-curve naming them Publisher of the Year in 2012 😉 And with stellar debuts like Lazarus and Zero (not to mention books like Manifest Destiny and Rat Queens) the accolades are hard to dispute. But let us do just that (contrary bastards that we are). Because 2013 was the year that a bevy of other publishers took a page from Image’s playbook and produced work, much of it creator-owned, that was just as innovative, idiosyncratic, and invigorating as Image’s output. BOOM!, IDW, Oni, Dyanmite – all produced titles of creativity, breadth and distinction. But there was one publisher that rose unexpectedly, like its namesake, above the rest: Dark Horse. While never taking their eye off their bread-and-butter licensed properties (like Star Wars and Terminator) Dark Horse branched out into new territory with exciting minis from largely unknown creators (Buzzkill), original graphic novels (Bad Houses), and printed versions of high quality digital comics (Bandette, Sabretooth Swordsman). And let’s face it, Dark Horse has been doing the creator-owned, independent thing for over twenty years, as evidenced by the revival of the premiere comics anthology, Dark Horse Presents. So while Image is the current industry darling (and deservedly so), we can’t ignore the evidence of our comic-lovin’ eyes: the best overall books of 2013 (including our Top Two titles) were published by Dark Horse Comics. (DM)

The True Lives of the Fabulous Killjoys #6 (Dark Horse): Polishes off the weirdly sedate series from Gerard Way and Becky Cloonan.

Dead Boy Detectives #1 (DC/Vertigo): “From the pages of The Sandman” is enough for me.

Clone #13 (Image): Plenty of creators–even some on critically acclaimed books–should do themselves a favor and clone the pacing and page turns of this exciting series.

Clone #13

The Manhattan Projects #17 (Image): Still Hickman’s best.

Rocket Girl #3 (Image): #2 was pretty good, but I’m not too sure I need stick with it. I’ll give it another go before I say no, though.

Sin Boldly (Image): Joe Linsner disappointed with his most recent effort and didn’t help matters with his issue-ending, ill-advised rant. Surprised it didn’t dawn on him: the only characters who should be assassinated in a comic book are comic book characters.

Death Sentence #4 (Titan): Irresistibly irreverent, indecent, incorrigible–it’s rock ‘n roll, baby; you know: live fast, die young, and leave a good looking corpse, and all that. Oh, and it’s also very, very good.

Brain Boy #3 (Dark Horse): Kind of glad it’s over. Of late, I’ve been high on anything Fred Van Lente (Archer & Armstrong, The Mocking Dead), but this has been rather underwhelming. The art from R.B. Silva, however, has been brain blowing!

Buzzkill #3 (Dark Horse): A sniper of a first issue, followed up by an even sharper second shot. Here’s to hopin’ Cates et al don’t kill the buzz–cuz we know what happens all too often to minis that rely on clever premises: Can you say Colder? How ’bout Dream Thief?

Batman and Two-Face #25 (DC): #24 started off a little rough for me. Then came the moment Dent became Two-Face. Wow. Peter J. Tomasi’s got a knack–a Knight knack not seen in the big Batbook. He and his book deserve more credit and attention for what he and it are accomplishing here in the rather unforgiving confines of the New 52.

Batman and Two-Face #25

Harley Quinn #0 (DC): I love Harley. Not so sure I’m going to love this. Will too many artists spoil the birth of this series? We’ll see. Heh.

The Wake #5 (DC/Vertigo): Wake me when it’s over.

A Voice in the Dark #1 (Image): I’m not familiar with Larime Taylor, but I am intrigued by the premise. Oh, and it’s an Image #1, so… Not that that’s any sort of guarantee: see Umbral. Ugh.

Clone #12 (Image): #11 was, perhaps, the best issue yet. It’s a high energy read that’s expertly crafted: from the ridiculously detailed art to the danger drummed up in the dialogue. An absolute clinic in the power of the page turn.

Clone #12

Sex Criminals #3 (Image): Expect another Fraction-packed issue! Fantasizing: in the end, will this series prove to be no more than an experiment in creative masturbation, or will it all come together into something far more satisfying? Either way, I’m open for to another session.

Sheltered #5 (Image): Doggone it! Now, that’s the way to end a comic book! With #4, Ed Brisson bared his teeth and the series’ soul. Sure, there’s long-term concern; but in the short term, this hard-hitter comes with high expectations.

Zero #3 (Image): Ales Kot has found his playground. #2 was brilliant. There is a 0% chance of my missing this one.

Zero #3

Daredevil #33 (Marvel): A monster #32 was overshadowed by the horrifying news of the imminent demise of this remarkable run of Daredevil. I’m not sure that I’m down with the daring jump to digital only. Makes me super sad, especially since it’s this run–starting with #1–that brought me back to comics after too many years away. Who knew they’d be wrapping it up so soon?

Daredevil #33

Uncanny X-Men #14 (Marvel): I long to be an ex-X-reader. Seriously. In fact, I really thought Battle of the Atom would be enough to drive me away for good. Thing is, I’m buying into Bendis’s Cyclops. And Bachalo’s awesome. Oh, and…

X-Men #7 (Marvel): After a terrible #6 (a BotA tie-in, of course), I swore up and down that I was out. But Brian Wood’s so good–well, at writing comics, anyway.

Rachel Rising #21 (Abstract Studio): #20 was filled with Moore amazing moments–a masterful mix of horror and humor. Loved the first two pages with the serpentine smoke, snaking from panel to panel. Speaking of snakes…

Rachel Rising #21

X-O Manowar #19 (Valiant): Has really taken off of late. Ironic, eh? You know, because they’ve finally returned to Earth and… Oh, you know.

Afterlife with Archie #2 (Archie): You know you loved #1. And if you didn’t, it’s only because you didn’t read it. Great storytelling from Roberto Aguirre Sacasa and Francesco Francavilla. That’s right: get you some Archie!

Mind MGMT #16 (Matt Kindt is the Thomas Edison of comics: he’s invented yet another way to make this book the most involved read on the rack. As important as this story is to the world Kindt’s been building, it is a stand alone issue. Do yourself a favor and pick it up, even if you’re not looking to add another title to your monthly haul; it’s a stunning example of what the medium can do.)

Mind MGMT #16

Velvet #1 (I like the bad-ass Miss Moneypenny angle from Ed Brubaker and Steve Epting. The other angles–all of them right–come together to take the shape of an exceptionally executed exposition.)

Pretty Deadly #1 (Pretty underwhelming. Not entirely Kelly Sue DeConnick’s fault, really. Sure, I wasn’t particularly taken by the–perhaps purposely–juvenile poetry that frames the issue, and Emma Rios’s art was often tough to translate; but I think the main problem is with me–with my bag. Not only am I already invested in wonderfully wild westerns–including BOOM!’s Six-Gun Gorilla, Image’s East of West, and Oni’s The Sixth Gun–I’m seeing similarities, which steal a bit from the experience. Even if they’re complete coincidences, which I assume they are, they’re enough to affect my experience here. To be fair, I’m going to meet #2 at high noon on or around Wednesday 11/27. We’ll see who flinches first.)

Satellite Sam #4 (Had to spend extra time with it to suss out some of the dialogue. Time well spent. Who knew I’d be more interested in the early days of TV than I am in the recent exploits of Captain America and Superman? It’s not what I came back to comics for, but it’s why I’ll be sticking around: an original voice affected effortlessly by Matt Fraction and ridiculously detailed black & white artwork from Howard Chaykin.)

Satellite Sam #4

Harbinger #17 (Wouldn’t have been so terrible if it were terrible, but it wasn’t. Peter and friends live to see another What’s I&N Store post.)

Rat Queens #2 (The joke ran the risk of getting stale–like a chunk of cheese on a ill-placed trap–but then came the end. “[Fudge] buckets,” indeed. At its best, like during the final two-page sequence, Kurtis J. Wiebe’s world spins not unlike something you’d see in Saga. At its worst, it reads like Fraction’s cutting-room floor. Here’s hoping for more of the best.)

Clone #11 (I wasn’t sure where we were headed after #10. Now I know–and I’m stoked! All the way around, a terrific issue. The twriters [that’s tri-writers, to reflect the combined efforts of David Schulner, Aaron Ginsburg, and Wade McIntyre–did I just coin that?] continue to celebrate the unique experience that is the comic book page turn in this fast-paced effort; and the art from Juan Jose Ryp, with colors from Andy Troy, is at its detailed best. Really, really good.)

Clone #11

Sex Criminals #2 (Even filthier than the first, which makes sense since we get the guy’s side here. It goes without saying that I found it hard to relate to. I have a friend, though, who found it remarkably resonant–especially the bit about the–umm–treasure in the woods.)

Daredevil #32 (Quite a ride. Went from hard to diJester to frighteningly flavorful in a single course! Who would’ve thunk it: Mark Waid twists the political slog from #31 into something fiendishly fun and then, just as quickly, into something D-D-deadly. Two fantastic splashes from Chris Samnee, the best being the ironic “They’re not monsters!” monsterpiece. Hard to believe we’re that much closer to the end of this glorious run.)

Daredevil #32

Ultimate Spider-Man #28 (Sad to say, I’m happy that this one’s done.)

Missed a few–The Massive, Numbercruncher, and Death Sentence–for one reason or another; but I won’t be without them for very long.